Out in the Ether

Most readers know Robin McKinley best for book-length fairy tale retellings and the Damar novels, which are a more traditional type of heroic fantasy. More recently she ventured into modern vampire fiction with Sunshine (2003), followed by a contemporary fantasy about a boy with the dilemma of illegally raising a dragon hatchling in Dragonhaven (2007). Numerous other authors have taken this basic plot idea for a ride: see also the works of Anne McCaffrey, Jane Yolen, and Mercedes Lackey for examples. This piqued my curiosity, and I wanted to see how McKinley would deal with the story of a boy and his dragon.

Set in an alternate contemporaneous United States, the world has always had dragons and they are still around, though they are limited to nature preserves with enforced borders. Scientists debate what a “real” dragon is, and generally believe that since no one has seen the “real” dragons, they may even be extinct; park rangers know differently even if they rarely ever see one. Then Jake happens upon a dying mother dragon whose last surviving hatchling will die without his assistance. Of course, he takes in the dragon despite the questionable legality of the situation (one is neither allowed to kill or to directly save the lives of dragons in this world). And to make matters worse, the mother dragon killed a human in her own defence.

Jake and Lois’ shared growth is written as a retrospective from a twenty-something Jake’s point of view in 1st person narrative. Since the prose tends towards the frenetic, this didn’t really jive with me as the character’s voice; it reminded me more of a ten year old on a sugar rush:

I was tired, and hungry myself, and my head really hurt, and I was all wound up about what had happened, and about the fact that I had landed myself with an orphan dragonlet that I hadn’t a clue how to take care of, and how it was all going to be my fault when it died and I already felt as if everything that had happened was my fault–even though I knew that was stupid–and when it died too I’d never forgive myself and go crazy or something (52).

Whew–that’s enough to take the gusto out of the rest of my night. Good thing I wasn’t reading this one aloud to someone! Because of the discordant narrative style and consistent run-on sentences with stumble-over-the-next-word-to-get-there-fast-enough rhythm, I admit it took me a while to get into this book. Normally I’m able to relax into Robin McKinley’s prose almost immediately, but this story took a little time. I also wondered if the author’s own voice outweighed the character’s voice at times, given the similarity of flow McKinley has when blogging.

If you’re a stickler for logic there are a couple things that might cause hang-ups for you. First up: the non-interference clause preventing people working in Smokehill National Park, the US dragon preserve, from healing/helping dragons even though there are “lesser” dragons being cared for in a zoo setting. The contradiction here just makes my head hurt. Then there’s the debate about what a “real” dragon is, the general taxonomic politics, and how problematic this seems to be for the park. Taxonomy is one big debate about categories, and academics eat it up with a smile–look at the human species’ fossil record alone and you’ll realise we can’t manage anything certain for a relatively well-studied population. I just can’t believe the lack of research done on dragons even with political interference and controversy.

However, if you can suspend enough disbelief and want a story that closely follows character development and discovery of New Things (ie, dragons, which I might add are done believably) then you will really enjoy Dragonhaven. The journey is a slow one, but the moments that forward the plot itself are worth seeking out. Five years after the dragon discovery Jake writes an “epilogue”, and it includes the majority of character development and plot movement in the novel, but takes 288 pages to get there. Earlier parts of the novel could have benefited from some judicious editing, but on the other hand, the journey was worthwhile.

Dragonhaven is not the best book it could have been, but it was good nonetheless. It definitely has a coming-of-age feel to it, and McKinley put an interesting spin on the boy & dragon plot by giving it a modern and somewhat more political setting, even if the politics languished in the background. In the end, Robin McKinley has some interesting things to say about growing up, bridging understanding, the involvement of politics in knowledge production, assumed obligations, and sacrifice. For those messages, Dragonhaven is definitely a worthwhile read.

Given that WordPress has now eaten my review for the second time for no apparent reason when it has never done this before, I’m starting to get extremely frustrated. So, I’m going to go after a somewhat different, more compressed, format, since I’m getting sick of typing out the same damn thing over and over.

Thomas M. Disch published Camp Concentration in 1968. Timing-wise, this places the book in the midst of a) political upheaval and both internal and international conflict in the US, b) the New Wave movement in science fiction literature spear-headed by Michael Moorcock, c) a time when several other prominent SF authors wrote books with Faustian references. This last point amuses me in a general sense; authors include Phillip K. Dick (in 1969) and Roger Zelazny (in 1966).

Narrative structure is journal format, divided structurally into two books. Our records-keeper is Louis Sacchetti: poet, conscientious objectioner (“conchie”), obese man, Pallidine-carrier, and unreliable narrator. Why? Well, I would be unreliable too if I knew the director of my newfound prison and his pet military researcher running the experiment received copies of my journal as a daily newsfeed.

Did I like Camp Concentration? No, I did not. Not only does Disch align the reader with those holding power over Sacchetti by giving us the same “gaze” that they have–we join the heads of Camp Archimedes as the journal’s audience–but also creates a separation between us and Sacchetti with this same practice. I could not fall into the narrative per se, and further to that, with all the name-dropping literary-referencing madness-tinged-discourse-inserting it was just too much work for a payoff I didn’t even want by the end of it. Disch writes in a dense, compressed style that packs a lot of punch with a low word-count: his poetic leanings win out in his prose, which makes it a work-heavy read that necessitates interpretation.

What do I think of Louis Sacchetti as the main character? Hard to tell, since he censors himself as a record-keeper. This is something that bears analysis, and to be honest, I didn’t like the book enough to read it over 2-3 more times to put every single piece together of a complex, unlikable, and unsympathetic character. For example, it takes Sacchetti until the end of the first book to acknowledge he has been infected by Pallidine: is this denial, inability to connect the dots, or purposeful concealment of his knowledge from his captors? I could not tell you.

That said, what do I think of Camp Concentration? It’s a book that espouses ideas more than characters. What is the nature of genius? Is genius book knowledge, self knowledge, power over the natural world, or ability to exact what you want from other people? Is it genius, or an illness, or something else? As Sacchetti muses near the end of the novel: “I exist without instincts, almost without images; and I no longer have an aim. I resemble nothing. The poison has had not two effects–genius and death–but one. Call it by which name you will.” (p. 184).

It also brings into question the ethics of biological warfare and human test subjects, rampant government control, and war in general. Throughout the course of the book identity, the nature of science, and the regulation and politics of knowledge production are hot-button issues, as is a hard look at the compromises made for meeting one’s goals. Disch provides us with a large amount of commentary on social control relating to the government, the separate groups of prisoners (more so in the latter half of the book), and religious beliefs within this context. Definitely more idea-driven than character-driven, though character certainly plays a large role in the book itself.

The ideas? Fascinating. Worth the read if you like to consider big questions, but if you are a completist and feel a need to look up and search out context for various quotations and references, you can spend an awful lot of time on Camp Concentration, which is relatively short. Really, the title itself gives one enough pause: allusion to concentration camps in Nazi Germany, within the bounds of the story there is Camp Archimedes itself which promotes concentration and study within the camp, and the concentration required from the reader. Imagine what you could pull out of 184 pages packed with multiplicities of meaning, if you are so inclined.

If anyone out there is looking for fodder for a scholarly study, this book would be a grand topic. It might not be your cup of tea for an engaging, escapist read–though I suppose that depends on what you like your escape to be. Although certainly a worthwhile and thought-provoking read, Thomas M. Disch’s CampConcentration will never be a favourite of mine.

Jo Walton‘s Small Change series started off on solid ground with Farthing, a murder mystery “with fascists” set in a very different WWII era United Kingdom, and continues in her 2008 Prometheus Award winner Ha’Penny. Walton’s writing has always had a historical bent, first evident in The King’s Name series as historically-tinged fantasy, and more so in Tooth and Claw, a Victorian novel with dragons. Writing alternate history therefore isn’t much of a stretch, and her talents in creating period mood in prose certainly shine in this series.

Picture a U.K. that made peace with Hitler’s Germany after the Blitz in 1941: this is Walton’s world, several years later with a British populace manipulated into complacency. Ha’Penny focuses on two characters: the actress Viola Lark, blackmailed into participating in a scheme to assassinate the leaders of both the Third Reich and Britain, and Inspector Carmichael of Scotland Yard, whose homosexuality opens the door for Britain’s leaders to blackmail him into participating in their political maneuvering. Carmicheal also played a major role in Farthing, and mostly due to his recurring presence and fascinating character development, I recommend not starting the series with Ha’Penny–as well you may miss some political subtleties.

Ha’Penny, like Farthing, hinges on the familiar both in plot and content. Plot-wise, Farthing used the murder mystery, while Ha’Penny follows more of a suspense/thriller format. While Ha’Penny doesn’t deliver a page-turning potboiler in the traditional sense, it delivers a politically-charged character driven view of what might have been that reflects on current political tensions. Walton’s use of familiar, comforting structure and setting serves as a lull to amplify the danger and contrast with more subtle political violence. The real story and Walton’s own agenda paddles along frantically beneath a calm surface.

Carmichael, reluctant though he is to aid the government, has made the choice before to acquiesce to the demands of those in power for his own safety and comfort. Viola’s first person narrative of wakening to action serves to contrast his more removed and stoic internal third person narrative. She begins the novel as an actress who must work for a living, though born into privilege and willingly removed from the political arena, who becomes strong-armed into a plot she sees no purpose in. Walton uses her role in Hamlet to mirror her character, especially in the latter half of the novel. Viola’s revelation and change in character at a society event with the leaders she plots against packs a softened, yet wounding, blow:

“What about Germany?” I asked. “That they wanted the war? But they didn’t, did they, no more than we did, that’s what the Farthing Peace was all about?”
“No, about the camps.” Lord Ullapool drained his wineglass and stared off at the dancers, but I don’t think he was seeing them. “Anything you’ve heard about the work camps on the Continent, about enslaving the workers and confiscating their property, about working them to death, about gassing those who can’t work, it’s all true.”
I’d never believed it before, not when Siddy mentioned it in the Lyons, not even when Malcolm was giving me facts and figures, but hearing it now in this gentle old man’s quiet voice I couldn’t doubt it. (p. 238)

I usually do not read alternate history because the ideas behind it frequently overwhelm the characters, but Walton places character development in the forefront, hinging the novel on this. While written with an agenda, the reader must decide whether there really is a “good” or “evil” in this story, and where they sit amid shades of grey. This is part of the source of the power in the novel’s message; readers who choose to engage in the novel in this way are forced to look within to know where they might stand, which is not so simple in a world where complacency and ignorance can be so easy and potentially rewarding, even inadvertently, as the culmination of the novel demonstrates.

Ha’Penny is an excellent piece of literature that makes me wish I had more grounding in both Hamlet and WWII history; since I have only smatterings of the two, I can only say that the book is deftly engaging and eerily plausible in the current political atmosphere we live in today. I’ll definitely keep a watch for Walton’s third Small Change book, Half a Crown, which will be released near the end of the month in hardcover.

Following up a novella with a novel continuing the story and managing to hit the NYT Bestseller’s List at the same time is no small feat. That is exactly what Patricia Briggs does in Cry Wolf, the first book in a spin-off series set in the same world as her popular Mercedes Thompson books. Despite the travails of figuring out how to write a novel after a novella, this volume still presents an entertaining story that promises a series with a subtly different and subversive take on the werewolves found so commonly in urban fantasy.

Cry Wolf picks up where “Alpha and Omega” leaves off (you can read it in the collection On the Prowl; see my review here), though gives some small amount of back story. That said, reading the novella first would probably improve perspective on both character development and the unique twists Briggs offers in her heroine, Anna. Anna is an unwilling werewolf recently rescued from an abusive pack by Charles, the son and enforcer of the most powerful alpha werewolf in North America. She must now deal with both her own history, her new relationship with Charles, and being a rare omega werewolf, who tempers the violent natures of dominant wolves. Charles’ serious wounds necessitate her presence to calm him, but soon she finds herself trying to adjust to newfound independence and assisting in Charles’ search for a rogue werewolf in the back country of Montana.

This series in particular edges more into the realm of romantic fiction than the Mercedes Thompson books. We get to see much of Anna and Charles emotional interactions and a chance for some insight into werewolf psyches. Briggs’ writing in this volume places a central focus on character interactions at the beginning of the novel, though begins to slip into a more action-oriented tone towards the latter portion of the book. In fact, the action hits all at once when the characters realise it’s not just a rogue werewolf, but a different brand of ancient evil at the pack’s back door. Though the action struggles to maintain balance with the character depth encountered earlier on, it’s still nothing that upsets the book’s rhythm. The abrupt plot change lacks enough surrounding foreshadowing and lead-in events that it seemed like an easy way to Make Things Happen.

The ending also gave me pause since the post-action wrap up lasts a page and a half, yet several life-altering events occur for Anna. As a reader I felt cheated of the characters’ experiences, and I liken it to reading a series of “begats”from the Bible, where the writing became a list of things that happened next. Despite the sudden change in character importance with suddenly relevant pasts, and having a whirlwind ending, Cry Wolf remains a satisfying read.

Even with these faults Cry Wolf stands out since Patricia Briggs brings deeper themes to the table, infusing Anna and Charles’ story with meaning beyond themselves. Though certainly not all, a large chunk of urban fantasy on the shelves seems designed mostly for action and character entanglements, but lacks a means to connect to readers on a more intimate level. This is where Briggs’ writing excelled for me, more so than any of the Mercy Thompson books.

One of the themes in the book is acceptance and negotiation; of the self, of others, and of events. Werewolves must reach some sort of acceptance after experiencing the change in order to negotiate co-existence between their human and their “wolf” sides. While this creates a dichotomy between human and wolf (and the natural, or arguably the supernatural), the importance of merging these separate aspects resonated with me. And just as these two inner aspects must balance out, so must the social roles of werewolves–dominants and submissives. However, using the idea of alphas and omegas in hand with the socio-political pack structure allows Briggs to create that same brand of negotiation found on an individual psychological level. This draws the individual and the societal together in order to create links between characters and their social setting through deft structure in the story, and creates a greater sense of the importance of pack life.

While Cry Wolf isn’t a perfect book (what book is?) its faults were obscured by the emotional impact and meaning present in the story itself. Any writer can put together a werewolf story, but not that many of them can do it in a way that makes you suspend disbelief with ease and become truly involved with the characters. Patricia Briggs does it, and does it well. Now comes the hard part: waiting for the sequel.

For a first exposure to Robert A. Heinlein, I sure picked a doozy. Historically speaking, Starship Troopers signalled the end of Heinlein’s “juvenile” science fiction era and garners a fair amount of controversy to this day. Do a cursory search online and you’ll see what I mean–there’s a lot out there. This book also helped to kick off military science fiction as a subgenre, along with placing powered armour in the spotlight. Let’s not forget it also won the 1960 Hugo Award, which Heinlein followed up with Stranger in a Strange Land, leading to another Hugo.

Starship Troopers is a densely-packed, brisk-paced novel narrated by Johnnie Rico, who enlists in Earth’s military as a member of the Mobile Infantry upon his graduation. The book follows him through basic training with the MI, into combat with the alien “Skinnies” and “Bugs”, and officer training. Johnnie’s training and his own thoughts on the military are in the forefront, with only brief instances of combat scattered throughout the story.

The story itself is simple, but Heinlein’s writing drew me in. However, I finished the book and was left thinking that not all that much really happened. Outside the military aspects of the story, there really isn’t all that much other than dialogues regarding moral and philosophical issues, which is interesting and provoking, but doesn’t do terribly much for character development. The relationships seem oddly skewed: there is no romance despite a date, and Johnnie’s father ends up as his platoon sergeant–which in and of itself seems inappropriate within a chain of command.

The political and moral philosophies espoused in the book are polemic, and the centre of many a debate. Heinlein held many controversial opinions about communism, nuclear weapons, and so on, but he isn’t really the focus of this specific review since he isn’t the book (if you are interested though, see these links where Michael Moorcock and Spider Robinson take different views on the man and his philosophy). The book itself is based in a world where to earn the vote and full citizenship one must serve in the military, where corporal punishment is accepted as a means to teach moral behaviour, and where aliens are all uniformly enemies. I seem to recall sometimes they are also the enemy of Earth’s enemy–that is, other aliens. Starship Troopers takes a strong us vs. them position and certainly the imagery is there to see “the Bugs” as a representation of a hive-mind communist society, circa America’s cold-war.

Unfortunately there’s so much background in the world left open to interpretation that it confuses the context of the philosophical arguments; we don’t have any evidence as to what sort of government Earth has, what its policy or motives are for space expansion (reacting to attack, or attacking first?), or anything else beyond Johnnie’s limited viewpoint. In fact, at times his vantage of his world is so narrow that I wondered if he really knew much of anything upon graduation.
In this respect, the construction of the future Earth in Starship Troopers is both thought-provoking and frustrating because of the obvious holes left in the story. Because of this, it’s difficult to build a well-structured argument about the book without relying on information about Heinlein himself, which is a questionable practice regardless.

I noted some interesting conflicts in the writing in terms of portraying gender and ethnicity. Women in the military mostly end up as Navy captains, reportedly in part because of their superior math skills which puts them in a position of power. However, they are almost completely absent from the infantry and seem to exist within cocoons of military protection for the most part. Ethnicity seems to be implied by name and what language the person speaks, which seems a little presumptuous to me. But if you accept that along with minor stereotyping of minor characters the book has a multi-ethnic cast, with the implication that since Johnnie speaks Tagalog he is Filipino.

It seems as though Heinlein perhaps was wanting to break out of the thought patterns of 1950s America, but couldn’t quite set his existing ideas aside. Or who knows, perhaps there was an editorial hand in this somewhere that made the book more “acceptable” for mass consumption, whichever direction the stereotypes were pushed towards. I doubt the political aspects of the book were massaged, as they are pretty explicit. Taken in context of the human-alien conflict, Heinlein makes an interesting commentary on conceptualizations of “the other” between cultural groups of one species and differing species, and certainly one influenced by when it was published.

Heinlein’s Starship Troopers is a good read, and should not be missed due to its controversial nature and its influence on the military sci-fi subgenre (including John Scalzi’s Old Man’s War series and Harry Harrison’s Bill The Galactic Hero). Regardless of the flaws in this novel, I found I enjoyed it quite a bit and had lots to chew over in my head, which if nothing else, I’m sure Heinlein had fully intended.

Jonathan Green‘s Leviathan Rising is an intriguing introduction to the UK’s Abaddon Books. It’s the third book in the Pax Britannia series featuring Ulysses Quicksilver, the “dandy adventurer and hero of Magna Britannia.” As a Victorian-style steampunk world, complete with remnant populations of dinosaurs, a Queen Victoria who celebrated her 160th jubilee, and a Bond-esque protagonist… well, really, what’s there to lose?

Ulysses sets off on the maiden voyage of the Neptune, a massive submersible cruise-liner, though his so-called vacation quickly becomes a whodunit murder mystery involving the ship’s high society contingent. In the midst of trying to figure out the initial murder, the massive be-tentacled leviathan attacks and the remaining passengers must figure out how to escape a damaged sub sitting on the brink of the Marianas Trench, avoid being murdered by the original killer who is still somewhere in the group, and not get consumed by the rampaging leviathan in the process.

Obviously a book made with heavy intent towards pulp-like entertainment value, Leviathan Rising takes a while to get the adventure gears turning in the right direction. Jonathan Green has a habit of telling rather than showing in the beginning of the book, which slows the pace. For instance, a dinner party where Ulysses mentally provides a short history on each guest, serving as an info-dump: instead the scene could have yielded great characterization through dinner conversations.

Another problem for me was difficulty “connecting” with Ulysses Quicksilver as a protagonist. As a reader we aren’t given much in the way of back-story, and Ulysses isn’t a terribly sympathetic character. If not for his actions about midway through the book that begin to redeem his earlier snobbery and arrogance, he wouldn’t ever become sympathetic. I suspect having knowledge of his past adventures would make him more multi-dimensional, but I’m not certain since this is the first in the series I’ve read.

Leviathan Rising had a lot of potential to also serve as a back-handed comedy of manners by skewering ideas of class, race, and gender relationships. Instead the novel reinforced the structural differentials present in Victorian British society. I was taken aback at the use of Chinese characters as stereotypical, inscrutable double-crossing agents and frequently described as yellow-skinned or slanty-eyed. While possibly historically relevant in Victorian times, such blatant racial profiling is unacceptable today without further deconstruction (in contrast, Emma Bull’s Territory deals exceptionally well with historical roles of minorities).

Despite its faults, there are some areas where Leviathan Rising excels. Green has a great campy sense about his writing and word choice that is unfortunately inconsistent, but when present, it shines. The adventure parts of the book are well put-together, and keep the pages turning, especially once the writing hits a good rhythm in the second half of the novel. And I think best of all was the setting, in a high-society steampunked Victorian world that nonetheless has genetic engineering, high-tech travel, transmitting Babbage machines, and dinosaur safaris.

Jonathan Green created a fascinating world and a true adventure in Leviathan Rising, despite its inconsistencies. I’d be interested enough to take other books in the series with me for beach reading, but be sure to not expect any surprises or grand literary revelation. This book is clearly made for comforting predictability and mindless enjoyment, despite having minor cautionary themes about humanity playing God. If you’re a fan of pulps, and of tentacles, and of all-out adventure with everything that comes with it, then by all means: take the plunge.

Written as a guest reviewer at Enduring Romance for Kimber An. Go check out her lovely, lovely review blog!

I’m curious to know how the name Grimspace came about. While the title obviously comes from the name of the space humans with special J-genes “jump” into to traverse the universe, it fails to capture the joy and addictive ecstasy jumpers get from grimspace itself. Be aware that Ann Aguirre‘s debut science fiction novel pulls romance into the fore, though its romantic nature doesn’t displace any action. The romantic overtones aren’t a shock considering Aguirre has written romantic fiction in the past under a different name.

Grimspace is a change from the run of the mill space opera, though, in its tone and perspective. It uses first person present tense narration that brings a kick in the pants along with it, pushing the action into the forefront. It also puts the focus directly onto Sirantha Jax, who is a heroine with loads of attitude.

We first meet Jax right before she’s about to escape from a psych unit with the help of mysterious man March. With her lover and former co-pilot dead, Jax must now make a run for it and make the first jump she has made since that time with a pilot she has never met or bonded to. Soon we’re introduced to the ship’s crew, who want Jax to start a rogue training program for other jumpers so their rebel group can reduce the monopoly her former employers, the Farwan Corp., have on space transport. To do that, they have to find other people with the J-gene. Along the way, Jax must deal with herself, her relationship with her telepathic co-pilot March, save a sentient baby lizard, escape a pirate space-station breeding programme, and dodge an extremely polite shape-shifting bounty hunter.

For a novel like this to succeed, it really requires a likable main character, and Sirantha Jax is that. She’s strong, and someone who acts with loyalty and caring despite herself. And she’s the longest living jumper out there, which speaks to her stubborn nature. I didn’t believe the psychosis that the character kept proclaiming (read Sylvia Plath’s The Bell Jar or even Sarah Monette’s Mélusine if you want crazy done convincingly) and wondered if this was a symptom of Jax’s lack of self-knowledge. Her relationship with March overlaps with her grief from losing her last love, and their relationship grows with each argumentative exchange, fraught with physical attraction and their need for each other. Aguirre’s use of Jax’s voice is almost mesmerizing at times, and is what makes the novel speed forward so quickly.

And I’m aware of his hands on the controls as I never have been. I could almost fly the ship if I had to, because we’re not him and me, we’re…we, and then I sense his astonishment, sharing my mind’s eye as we gaze outward to grimspace.
Maybe I gave him some sense of it before, but this time, he sees completely and I know he does: the glory, the colors, and the almost-manifest monsters that writhe along the hull. The Folly ploughs through liquid fire; the world without is a conflagration of possibility, ideas and dreams barely conceived and waiting to be given form.
But March and yes, it’s the March-me spinning my mind’s eye away from the beacon. He’s doing it and I didn’t even know this was possible. He’s trying to show me—Shit. There’s a ship coming up fast behind us (p. 148).

Grimspace was clearly designed as a “non-stop thrill ride” of action and romance, and Aguirre accomplishes that goal very well.Its rapid plot turnover helped make my nit-picky science-oriented self back off from the book’s logical inconsistencies. Most notably, a swamp planet that had planet-wide seasonal change and an ice planet with an unsustainable ecosystem without humans–who were not native to it (and seem to willingly live there despite creatures that go crazy at the scent of ANY human blood). Though there is speculation here, it’s more of the social type than the hard-science type, so don’t wrack your brain too hard.

The speed of plot elements hit a wall in the last third of the novel: the story moved too fast, and pulled too much in at once while eliminating some characters in not-so-meaningful ways. The media broadcast moment at the end struck me as too simple a solution, and something that Farwan conceded to far too easily. I have to say that the last couple of paragraphs just smacked me in the face with a corniness that seemed out of character for the novel as a whole and really disappointed me.

That said, the book takes an interesting spin on feminine-masculine power relationships, both in relationships between characters and in the societies that Jax and her fellow crew visit. “Mother Mary” is the expletive of choice, which ties into the reproductive politics explored, and the idea of exploiting women for their reproductive power. Though religion remains a mostly unexplored depth for Sirantha, she dips in her toe. It seemed to me as though later volumes have the potential to go somewhere very interesting with themes of genetic and reproductive politics entering the fray, especially if religion is bound into it all.

Ann Aguirre’s Grimspace is the kind of book that you can kick back with and enjoy the ride, as long as you don’t think too hard about it. It’s got enough humour and action to preoccupy you for a few enjoyable evenings, and its sequel, Wanderlust, is due to hit shelves in August 2008, with two more books in the series currently contracted. I’m looking forward to them.